Analisis Wacana Kritis Norman Fairclough terhadap Wacana Rasismedalam Film Ngenest: Ngetawain Hidup ala Ernest (2015)

MAHARSITAMA ANINDITA, Dr Novi Kurnia, M.SI., M.A.

2018 | Skripsi | S1 ILMU KOMUNIKASI

Hidup sebagai minoritas etnis di negara multi-kultural bukanlah perkara yang mudah. Ernest Prakasa, seorang berketurunan Tionghoa memproduksi film pertamanya yang berjudul Ngenest: Ngetawain Hidup Ala Ernest (2015). Terkenal sebagai stand up comedian, Ernest menceritakan kisah hidupnya yang mengalami tindakan rasis dan diskriminatif dengan pendekatan komedi. Film Ngenest (2015) dengan lugas menyampaikan pengalaman traumatis Ernest tanpa menggunakan metafora yang berlebihan. Melalui muatan konten serta wacana rasisme yang kuat, Film Ngenest (2015) mampu turut serta membangun semangat keberagaman bagi kehidupan berbangsa dan bernegara. Berlandaskan pada analisis wacana kritis milik Norman Fairclough, penelitian ini bertujuan untuk mengetahui wacana rasisme terhadap etnis Tionghoa pada Film Ngenest (2015). Analisis dilakukan melalui tiga tahapan, yakni level teks (mikro), praktik diskursus (meso), dan praktik sosio-kultural (makro). Pada level mikro, wacana rasisme terhadap etnis Tionghoa digambarkan melalui perlakuan bullying dan sikap dianggap liyan, stereotip dan prasangka, serta berupaya untukmelawan rasisme dengan cara asimilasi. Melalui Film Ngenest (2015), Ernest Prakasa ingin meruntuhkan tembok tabu dan rasa segan membicarakan ketidak-adilan yang dialami etnis Tionghoa di tengah masyarakat Indonesia. Bagi para pemerhati budaya pop Indonesia, film Ngenest (2015) mampu menjadi bukti bagaimana ke Cinaan muncul dalam sejarah industri perfilman Indonesia.

Living as a member of minority ethnic in a multi-cultural country is not a trivial matter. Ernest Prakasa, a director of Chinese descent, produced his first film, Ngenest: Ngetawain Hidup Ala Ernest (2015). Famous as a stand up comedian, Ernest tells his life story in which he became victim of racist and discriminatory behavior with a comedic approach. Ngenest explicitly conveys Ernest's traumatic experience without using exaggerated metaphors. Through a bold and strong discourse of racism, Ngenest is able to participate in building the spirit of diversity for the life of nation and state. Based on the analysis of critical discourse by Norman Fairclough, this study aims to determine the racism discourse against Chinese ethnicities in Ngenest. The analysis is done in three stages, namely the level of text (micro), the practice of discourse (meso), and socio-cultural practices (macro). At the micro level, the racism discourse was illustrated by showing acts of bullying, alienating, stereotypes and prejudices, and also by showing attempts to fight racism through assimilation. With Ngenest, Ernest Prakasa wants to breach the taboo limitations and reluctancies to talk about the injustice experienced by member of Chinese ethnicities in Indonesian society. For those who observe Indonesian pop culture, Ngenest is a proof of how Chineseness emerged in the history of the Indonesian film industry.

Kata Kunci : Rasisme, Etnis Tionghoa, Minoritas, Analisis Wacana Kritis, Norman Fairclough